The Live in HD broadcast of Nixon in Chinafrom The Met in New York was a special event in a number of ways. Most notably, it was the first time the opera had been performed at the Met, and for the occasion, many of the original team involved in its original production were reunited and their involvement made even more pronounced. Not only was it opera’s debut at the Met, but it was also the debut there of the colourful, sometimes controversial, but ever intelligent Peter Sellars as stage director – and not just of the stage, Sellars directing also directing the filmed live broadcast. With composer John Adams conducting his own opera, the broadcast proved to be a good opportunity then to re-evaluate whether a work from 1987, tied very much into the political climate of the period in which it is set, had any relevance today and whether it would go on to stand the test of time.

Although the political ramifications of the visit of President Nixon to China in 1972 and his meeting with Mao Tse-tung shouldn’t be underestimated, the state visit breaking down old enmities and opening up the world stage for a different kind of global politics where there is a recognition on both sides that it’s for their mutual good to work with each other, Nixon in China is, and has to be, more than it being an opera about a specific historical incident. The realisation that the world is a smaller place through satellite broadcasts and new technology is recognised by Nixon, who is acutely aware of how his international statesman act is going to play back home on primetime news at a time when he is seeking re-election. How significant then is it that this technology is now able to broadcast a performance of this opera across the world as it is played live in New York?

The production and the broadcast were accordingly upscaled for the Met stage, and quite marvellously, not least in the additional impact of a larger chorus, particularly during the banquet scene at the end of Act 1. Mindful of the impact that can be achieved, Sellars ensured that the HD cameras were right there in the middle of the action, the camera striving for close-ups wherever possible that were most effective when projected onto a cinema screen. Again, it’s difficult on such an occasion not to see the significance and importance of presentation of events played out on a world stage through satellite broadcasts, of playing to a wider audience and the increased importance under such circumstances of stage management – one delightfully reflected in the Chian Ch’ing’s pointing out “here are some children having fun” while giving the Nixons their official guided tour. It’s not enough to show, an audience sometimes needs to be directed towards what to feel.

The only minor problem with Act 1 was that James Maddalena, reprising a role that he helped originate and has performed over 150 times, was suffering from a frog in his throat that severely restricted his ability to hold sustained notes. A few discrete coughs, put into the character of Nixon clearing his throat before speaking, didn’t dispel the problem. It’s a pity, since most of his best work is done in the first act. The impact that this might have had was lessened however by the strong singing performances of Robert Brubaker’s Mao Tse-tung and James Braun’s Chinese Premier Chou En-lai. The ageing and infirm Mao, prone to making obscure and impenetrable remarks, remains an enigma however, but James Braun brought out the sense of dignified confusion and ambivalence about the nature of the visit, mindful – as becomes more evident later – of his own mortality.

Act 2 was given over principally to the female characters, the opera dealing with the considerable contrasts between the respective First Ladies, while in the process noting the growing importance of their role in the US Presidency. Janis Kelly was simply outstanding as Pat Nixon, her voice flawlessly meeting the demands of the opening scene of the second act, while at the same time capturing the human side of her character’s charm sincerity and personal fears – an aspect that was emphasised in an equally flawless acting performance where every gesture was captured by Sellars in extreme close-up. Kathleen Kim as Chian Ch’ing, was likewise most impressive in technique and delivery.

Thereafter, the opera becomes a different beast, Alice Goodman’s libretto slipping into abstraction as it becomes more about ideas than the personalities involved. Despite their efforts to stage-manage and direct the course of world events, it’s clear that they are only weak individuals, frail and flawed human beings, with doubts about their own achievements and the legacy they will leave behind. It’s something that they can never know and that only time and history will prove. The opera likewise needs to rise above the depiction of personalities – no matter how historically important they may be – and touch on those deeper subjects that the Nixon’s visit to China gives rise to. Ultimately then, it was the fact of this performance of the opera being on the day when Hosni Mubarek was forced to step down as leader of Egypt in a revolution facilitated by advancements in modern technology that justifies the opera’s approach and suggests that Nixon in China is still relevant and may stand-up well in the years ahead.